Catherine Breillat Latest Celebrity News & Gossip

It would be nice to think that desires are nothing more than preferences, springing organically from a fixed identity and unaffected by outside circumstances such as personal history and societal norms. The reality is, of course, much thornier, and trying to disentangle the many different factors influencing our tastes and longings can quickly cause a lot of suffering.

The indie market is feeling pretty good. A big film from India Kalki 2898 AD may unseat RRR’s North American opening weekend. June Squibb-starrer Thelma is blowing through midweek shows and stands at $3.75 million heading into week 2 steady at 1,280 theaters. Searchlight Pictures Kinds Of Kindness by Yorgos Lanthimos (Poor Things) starring Emma Stone and Jesse Plemons jumps to 500 screens from five after the best limited opening of the year last weekend.

Isabelle Huppert has been announced as this year’s recipient of the Lumière Award at the 16th edition of the classic film-focused Lumière Festival in Lyon this fall.

After premiering in competition at the Cannes Film Festival last year, Catherine Breillat‘s first film in a decade, “Last Summer,” finally hits US theaters. Granted, it only screens at Angelika Film Center and Film At Lincoln Center in NYC, but after the stir the film caused on the Croisette, New Yorkers should seek it out next month.

France’s César Academy has unveiled its annual Revelations list showcasing 32 emerging acting talents making their mark in the French-speaking cinema world.

Emerald Fennell talked the expected starting point for her new film Saltburn at the Deadline Contenders London event today.

Film at Lincoln Center has set the 32 features from 18 countries making up the Main Slate of the New York Film Festival, from Cannes prize-winners Anatomy Of A Fall by Justine Triet (Palme d’Or) and Zone Of Interest by Jonathan Glazer (Grand Prix), to the latest by Ryûsuke Hamaguchi, Wim Wenders, Agnieszka Holland, Hong Sangsoo, Radu Jude, Yorgos Lanthimos and Alice Rohrwacher.

Hooking up with your step-mom in any form is obviously a big no-no. Still, when you’re step-mom wants to hook up with you, a teenage boy, well, I guess only French provocateur Catherine Breillat can be bold enough to pull off such a shocking tale which she seems to do in her new film, “Last Summer” (L’Été Dernier” in French; at least shocking to Americans, maybe it’s not as wild for the loose and free Europeans who think we are all Puritans).

Sideshow and Janus Films have snapped up all US rights to Wim Wenders’ Cannes title Anselm, a 3D documentary about the celebrated contemporary artist Anselm Kiefer.

Sideshow and Janus Films have acquired all North American rights for “Last Summer,” directed by Catherine Breillat, her first film in a decade, the companies announced on Friday.The film, which just screened In Competition at the Cannes Film Festival to rave reviews, tells the story of Anne, a brilliant lawyer who lives in perfect harmony with her husband Pierre and their six and eight‐year‐old daughters in the suburbs of Paris. One day, Theo, 17, Pierre’s son from a previous marriage, moves in with them.

Sideshow and Janus Films have acquired all North American rights for Catherine Breillat’s drama Last Summer (L’été dernier) following its well-received premiere in competition in the final days of the Cannes Film Festival (May 16-27).

“Perfect Days” makes a perfect debut.PERFECT DAYS. Did Wim Wenders just make his best film since UNTIL THE END OF THE WORLD? Holy crap.Wim Wenders’ “Perfect Days” was the hero of the day, earning strong notices and the now-standard standing ovation.

French director Catherine Breillat has been breaking taboos throughout her career and her new Cannes Palme d’Or contender Last Summer is no exception.

Still breaking boundaries at the age of 74, French filmmaker Catherine Breillat returns to the Cannes competition with a film that squarely confronts the one taboo that is still ring-fenced from liberal tolerance: sex between adults and children. In the past, she has worked with porn stars, was one of the first to show an erection in an arthouse film and earned herself the moniker “porno auteuriste.” 

Cannes Film Festival, where Catherine Breillat’s scandal-courting transgression drama mostly inspired yawns.More inert than inept, “Last Summer” arrived in Cannes with fraught expectations: This is Breillat’s first film in a decade and a faithful remake of May el-Toukhy’s acclaimed “Queen of Hearts” — and within the Venn diagram of cinephiles who impatiently awaited Breillat’s follow-up to 2013’s “Abuse of Weakness,” and journalists who reviewed and celebrated that 2019 Danish drama you could probably fit the entire Palais.Like a cover song that follows the same notes but changes the emphasis, “Last Summer” tracks a high-powered juvenile rights attorney who begins a taboo fling with her underage stepson. The lawyer here is Anne (Léa Drucker, from “Custody”), a content and aloof mother of two who dulls her mid-life boredoms with wine.

Peter Debruge Chief Film Critic It began in the son’s room, when father was away on business. L’enfant thought it was l’amour, but for her, 30-odd years his senior, the sex, lies and audiotape were a mistake. Wild at heart, she’d yielded to the taste of … oh, never mind. Competing for the Palme d’Or at Cannes, Catherine Breillat’s “Last Summer” echoes films that have come before — most notably, 2019 Danish drama “Queen of Hearts,” on which it’s based — but it proves most daring in the ways the film departs for its more conventionally moralistic source, and especially in Breillat’s refusal to call either party a parasite. Yes, the affair between a lawyer and her 17-year-old stepson is a betrayal — of her marriage, of her parental responsibilities, of everything she stands for as an attorney — but that’s nothing compared to how the 50-ish woman deals with it when word gets out in this thought-provoking domestic drama. In reviewing the original, Variety’s Guy Lodge wrote, “you can practically envisage a Robin Wright-starring U.S. remake” — which isn’t far from the truth. Backed by fearless producer Saïd Ben Saïd (“Elle”), Breillat gives us the great Léa Drucker (who played far more responsible moms in “Close” and “Custody”) in the role of Anne, who’s introduced representing an underage girl in a sex-crimes case.

Kicking off on May 16, the Cannes Film Festival is around the corner, and the lineup was announced this morning alongside the names of six female filmmakers that will be participating this year that have films in competition. It’s a small number, but a new record for the festival.

Kicking off on May 16, the Cannes Film Festival is around the corner, and the lineup was announced this morning alongside the names of six female filmmakers that will be participating this year that have films in competition. It’s a small number, but a new record for the festival.

Nick Vivarelli International Correspondent The life of global porn icon Rocco Siffredi is the subject of a new Netflix original series titled “Supersex,” which has started shooting in Rome. The seven-episode drama is freely inspired by the real life of Siffredi, who has more than 1,500 hardcore films to his name. But, in an interesting career twist, Siffredi has also shot two arthouse pics, Catherine Breillat’s “Romance” and “Anatomy of Hell.” His Budapest-based Rocco Siffredi Prods. is a porn industry powerhouse. Siffredi was also the subject of the documentary “Rocco,” directed by French duo Thierry Demaiziere and Alban Teurlai, which screened at the 2016 Venice Film Festival. 

Guy Lodge Film CriticIn most films, the sight of a slaughtered human body — weighed down at the bottom of a public swimming pool with blood gushing from its wounds — would be the most stomach-churning thing in any given scene. “Piggy,” however, is not most films.

“True Things” is a “romantic” drama that is not romantic in the slightest. In the tradition of films like Catherine Breillat’s “Romance” and Adrian Lyne’s “9 ½ weeks,” the focus is on what is revealed about a female protagonist by how much she is willing to sacrifice to briefly experience passion with an unreliable yet sexy man.